Cranford Collection [DVD] [Region 1] [US Import] [NTSC]

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Gaskell's best known work is set in a small rural town, inhabited largely by women. This is a community that runs on cooperation and gossip, at the very heart of which are the daughters of the former rector: Miss Deborah Jenkyns and her sister Miss Matty. But domestic peace is constantly threatened in the form of financial disaster, imagined burglaries, tragic accidents, and the reapparance of long-lost relatives. Read more Details Timeless Classics : a jewel of Victorian publishing designed to occupy a permanent place on our bookshelves Salem owns an edition of Wantee , the work that won Prouvost the Turner Prize in 2013. “I am happy that Laure hasn’t stopped surprising us with her creativity,” she says. The film was received as enthusiastically as its predecessor and garnered an Oscar nomination for Best Costume Design – marking the first time that a sequel received a nomination when its predecessor was overlooked Vincent Honoré, Director of Exhibitions, Victor Secretan, Senior Curator, Anya Harrison, Curator et Rahmouna Boutayeb, Project Manager, assisted by Justine Vic

At the gallery, we bump into Maria Balshaw, the director of Tate galleries, who artfully dodges a question about the week’s hot topic—the cancellation of a highly anticipated Philip Guston exhibition—and listens intently to Salem’s thoughts on Tate Modern’s sprawling Bruce Nauman retrospective. The star-studded film is directed by Richard Lester ( A Hard Day’s Night, Help!) and to accompany the release, the equally thrilling sequel, The Four Musketeers, has also enjoyed the same 4k treatment. Eva Langret and Muriel Salem speak with François Chantala, partner at Thomas Dane Gallery. Photo by Naomi Rea. The exhibition 00s. Collection Cranford : les années 2000 focuses on this as yet unexplored decade, which has still to be fully defined. For this reason, the works in the exhibition will be presented chronologically. A timeline will chart the key events of this period and connect them to paintings, drawings, photographs, sculptures and videos from this prestigious collection.It took 20 years to build the collection she has today. “We weren’t always welcome,” she says. “Some [dealers] refused to sell to us, or ignored us, or snubbed us. But you have to start the conversation somewhere.” As we walk around, I get a feel for the collection, which is rehung every 18 months. There’s a Georg Baselitz squaring off with a wall-sized Christopher Wool. Martin Kippenberger and Albert Oehlen hang nearby. Even among this macho grouping, works by great women artists sing out. A sparkling Lynda Benglis knot holds court with Franz West, and an Alice Neel contends with Gerhard Richter. Salem practically skips as she points out how a work by Maria Lassnig, “the A ustrian radical hardcore,” speaks to a Bridget Riley, “the British Grande Dame.”

Whilst attempting to foil the Cardinal’s plans, D’Artagnan finds himself also juggling affairs with both the charming Constance Bonancieux (Raquel Welch) as well as the passionate Milady De Winter (Faye Dunaway), a secret agent for the Cardinal….For the first time in France, MO.CO. presents a selection of important works from the Cranford Collection. Established by Muriel and Freddy Salem in 1999, it is now among the largest private art collections in Europe, comprising over seven hundred works from the 1960s to the present.

will offer a reading of the world through art (or of art through the world) with the aim of teasing out an image of a decade which remains loosely defined, and of establishing whether a coherent relationship emerges between works whose only apparent connection is the era in which they were created. By placing the emphasis on volume (with approximately one hundred exhibited artworks), the range of mediums, as well as the diversity of the artists’ ages and nationalities, the exhibition will establish a dialogue between art and topical issues, and seek to reveal how the 2000s have transformed our global cultures, geopolitics and economy, as well as our ecological awareness. Because their heroines are women who embody freedom and the importance of being oneself. Women who are proud of being women and who insist on their rights and their role in society. Their acquisitions began seriously in 1999, when Muriel, with the help of Andrew Renton, started touring the East End galleries and absorbing the fervour of young artists who were then emerging in London. “I’d been closely involved with these people like Damien Hirst and Sarah Lucas who were becoming superstars,” says Renton, an art advisor and curator who was also finding his own way as he established the first curating course at Goldsmiths’. “Those were exciting times.”As we stand before Schutz’s Goya-inspired Large Model , the collector admits she has been “struggling” with Schutz’s grotesque figures for some time. But this year, she hopes, she will find the right piece. The curator of the collection, Anne Pontégnie, who has been working with the Salems for nine years, explains that this hang reflects the collectors’ own evolution. “A lot of women and under-appreciated artists of the 20th century are now being reconsidered,” Pontégnie says. “We really embraced that, and it has opened up new dimensions for us into recent art history.” Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Muriel Salem isn’t at home when I visit her Regent’s Park residence on a rain-soaked autumn day. In spite of Covid, she is in Montpellier, where an exhibition of artworks selected from her and husband Freddy’s collection is about to go on show at MO.CO – a public museum without a collection of its own. Originally conceived as a vehicle for The Beatles, it was ultimately decided that the Fab Four‘s personalities risked overshadowing the characters and the idea was shelved. Throughout production, Richard Lester insisted on secrecy from cast and crew for fear that his ideas may be stolen by any of the four other adaptations of the book that were also in production at the time. However, the film was both a critical and commercial hit on release and garnered Raquel Welch a Best Actress Golden Globe.

The couple moved into the Nash house overlooking Regent’s Park in 1990. “It was a bit of a stage set,” says Muriel. “All the houses had just been done up by developers, and it was fussy. But we still loved it, and we brought up four children here.” It’s testimony to the quality of the work they collect, as well as their generosity in lending it out. “It’s the responsibility of a collector,” says Muriel Salem, “to look after an artist’s work, to show it, and to share it. Nearly everything in this house has been in a fabulous museum at some point.” It doesn’t take long to reach our first stop. While the physical fair is off, Frieze has decided to mount its sculpture park in Regent’s Park anyway. A s we pass an oversize green door by Gavin Turk and a playful concrete sandwich by Sarah Lucas, s he opens up about her introduction to collecting in the early 2000s, which began with the acquisition of an altered piece of Eames furniture by the Scottish sculptor Martin Boyce.

While this is believable—Fadojutimi is the youngest artist currently in Tate’s collection and has just been profiled in Vogue —I ask Salem over lunch whether that response is not just part of the obligatory courting dance that happens when you buy art. Jane Austen, the Brontë sisters, Louisa May Alcott… Timeless Classics offers you a superb selection of novels that revolutionised the female universe.